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Antonin Dvorak Vinyl Records

Dvorak: Cello Concerto (Pre-Order)

A true genius of the cello, full of joy and life, Jacqueline du Pré passed away on October 19th, 1987, after many years fighting multiple sclerosis and aged only 42. This LP comes from the 5-LP boxset released in November 2017 to mark the 30th anniversary of Jacqueline du Pré’s passing; the three other ones will be released later, on a monthly basis. It uses the 24-BIT/96kHz remastering made at Abbey Road in 2011 for Japanese SACD version

Backed by The London Symphony Orchestra, Istvan Kertesz conducts Antonin Dvorak's Symphony No.9 in E Minor, Op.95 - "From The New World," originally released in 1967. Presented with original artwork and pressed on 180-gram heavyweight vinyl at Optimal.

Dvorak: String Quintet In G Major (Speakers Corner)

A perusal of string quintets throughout history leaves one with the impression that their creators wish to bestow a powerful impact upon the small group of musicians. And it is no different with Dvořák’s Quintet in G major: a double bass, instead of the usual second cello, paints with broad strokes in the lengthy score whose first movement almost takes on symphonic dimensions.

Here, the insistent, broad theme is presented in snappy cascades of sound. The cantilena, supported by a scurrying second subject, is followed by a frenzied Scherzo, which is steeped in Czech folk music under Dvořák’s distinctive style. The third movement (Poco andante) is highly meditative and is constructed with layers of one and the same basic motif, which soon is intensified with pulsating quavers and finally evolves in rising melodic elements.

The Finale is filled with fresh melodies and spiced with subtle motivic development, which is pleasant on the ear in all its complexity. It is not surprising, therefore, that Dvořák won an important prize for his Quintet.

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.

Dvorak: Concerto for Violoncello and Orchestra (Speakers Corner)

The Cello Concerto op. 104 is the last orchestral piece Dvorák wrote during his stay in America. Unlike his Ninth Symphony which borrowed folkloric themes from the New World, the charming Cello Concerto reveals Dvorák's yearning for his Bohemian homeland.

This piece demands masterly playing and interpretation from the soloist which is enhanced by a sumptuous sound in the strings and explosive brass. Dvorák reaches back to various musical passages from the first and second movements in the finale and so illustrates his style of composition in his later works.
Yearning for the Old World must have motivated George Szell to briefly leave his adopted home, the USA, in order to set down this late-Romantic musical gem together with the master cellist Pierre Fournier and the Berlin Philharmonic.

The artists were obviously inspired by this favourable constellation during the recording which sets the standards for artistic quality and perfection of sound technology. Indeed, this LP is among the most successful classical productions of the Sixties. Thirty years on, this recording is just as popular as it ever was.

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.

Dvorák: Concerto for Violoncello and Orchestra
Pierre Fournier and the Berlin Philharmonic Orchestra conducted by George Szell

Bestseller Classic No. 1

Bestseller Classic No. 1 recordings use a unique recording technique and contain unusually wide dynamic range and present an extraordinary challenge to all stereo systems! This recording can be used for listening tests or real comparison of the sound quality of different high fidelity components and systems. The songs are carefully recorded, timeless, and simply wonderful!

Dvorak: Violin Concerto

In a stunning recording career of over 35 years, Anne-Sophie Mutter has sold upwards of 10 million total albums.

Renowned for her technical facility and limitless range of expressive colours, Mutter is the undisputed “Queen of the Violin” (Times of London) - a musical
legend of our time.

It is no exaggeration to call this recording an historic venture: in June, Mutter and the Berliner Philharmoniker, whose deep and lasting artistic relationship
was forged in the 1970s, came together at the Berlin Philharmonie, to make their first studio album in almost 30 years.

Here, she records Dvorák’s Violin Concerto – the last of the great Romantic violin concertos not yet in her discography.

Anne-Sophie Mutter has chosen to pair Dvorák’s Violin Concerto with his fiery Mazurek Op. 49, and the Romance in F minor for violin and orchestra Op.
11. The album also includes Dvorák’s irresistible Humoresque, presented in its popular arrangement for violin and piano by Fritz Kreisler.

All works on this recording exemplify the vivid colour, touching melancholy and folkloric tunefulness that are trademarks of Dvorák’s style.

Dvorak Piano Trio Op. 65

Hailed for its soul-stirring, captivating performances of supreme artistry, The Jung Trio has established itself as one of the most notable rising young ensembles of today. The group is comprised of sisters Jennie, Ellen, and Julie Jung, who each contributes her own singular warmth and impassioned sensibility to the collaborative force.

The sisters were born and raised in Toronto, where they received their early music training as scholarship students in the Young Artist Performance Academy at the Royal Conservatory of Music. Initial successes include top prizes at the Canadian Music Competition, Kiwanis Music Festival, and the CIBC National Music Festival. Jennie Jung received her Bachelor of Music degree from the University of Toronto, pupil of Marietta Orlov. Following studies at Yale School of Music (Master of Music and Artist Diploma) with Claude Frank, she went on to receive a Doctor of Musical Arts at the Juilliard School in May, 2008. Ellen Jung completed studies in the Bachelor of Music program at the University of Toronto with Lorand Fenyves and David Zafer. She received her Master of Music and Artist Diploma from Yale as a student of Syoko Aki. Julie Jung studied with Shauna Rolston at the University of Toronto, where she graduated with a Bachelor of Music. She received her Master of Music from the New England Conservatory of Music as a student of Laurence Lesser, before joining her sisters at Yale, where she completed the Artist Diploma as a student of Aldo Parisot.

Dvorak: Symphony No. 8 (Speakers Corner)

In comparison with Dvorák’s cyclical Ninth Symphony, the Eighth always seems to fade into the background somewhat, although it is actually far more venturesome as regards its formal structure than its later sister-work. The wealth of poetic mood paintings, heartfelt melodies and seemingly improvisational episodes were described by the composer as unique ideas upon which he elaborated in a completely new way, and which were intentionally far removed from his other symphonies.

In spite of the highly individual movements, the whole composition is full of airy, lyrical contrasts. The transitional passages are gentle and flowing, as for example in the chorale-like opening which leads into the disciplined, spirited main theme of the first movement. This is followed by a rhapsodic slow movement and a waltz-like Allegretto, and finally a strangely interwoven amalgamation of sonata form and set of variations.

During the course of his short career, István Kertész championed Dvorák’s Symphonies in that he was the very first to record the complete works for the DECCA label. For this reason alone, the recording constitutes an excellent performance by the London Symphony Orchestra led by its Hungarian principal conductor.

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.

Dvorak - Symphony 5 - New World (Speakers Corner)

Dvorák’s long experience with classical forms finds its culmination in his final symphony, whose first performance took place in New York in 1893. The work still enjoys an unwaning popularity thanks to its finely contoured orchestration and its original themes, all of which are based on American folksongs and negro spirituals.

To capture Dvorák’s score in sound has always proved a challenge for both orchestra and recording team. This aim has been more than fulfilled in the present recording with the Vienna Philharmonic Orchestra led by István Kertész: the primeval power of the weighty brass, the glorious revelling of the strings, and the lyrical solo passages are all captured here. Musicianship of the highest degree combined with audio-technical perfection lend this recording, made in the early days of stereophony, the status of an historical sound document which, despite numerous other recordings, has no reason to fear competition.

Musicians:

Vienna Philharmonic Orchestra

Istvan Kertész (conductor)

Recording: March 1961 at Sofiensaal, Vienna by James Brown
Production: Ray Minshull

About Speakers Corner

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects – excluding the exception above – and that the lacquer discs are newly cut.

Concert For Violin & Orchestra

" Johanna Martzy has hitherto only been heard on records here in the Brahms Concerto and that performance established her at once as a great player. This record entirely confirms the verdict. She has an unerring sense of tempo — how exactly right is her speed for the slow movement: and her freshness and rhythm in the finale are a delight. This is just the sort of performance this concerto needs and it is one that will commend the music to anyone who has so far not been particularly captivated by the work. ... The orchestral accompaniment is extremely well done." — Gramophone

5 Legendary Recordings (Box Set) (Out Of Stock)

“She clearly was born to play the cello,” wrote the New York Times of Jacqueline du Pré in 1967. Just five years later her career was cut tragically short by illness. Providing a treasurable memento of her art, this is a newly-assembled 5LP collection of masterworks for cello and orchestra from three centuries. It includes the Elgar Concerto, so closely associated with du Pré, and a 1968 recording of Strauss’s Don Quixote which, after a complex genesis, was not released until 1995, the height of the CD era. Now, it makes its first appearance on LP. In each work, the cellist provides evidence of what her teacher, William Pleeth, described as the “perfect balance of youth and maturity”.

Warner Classics pays tribute to the beloved Jacqueline du Pré around the 30th anniversary of her passing with these 5 LPs of legendary recordings. A true genius of the cello, full of joy and life, Jacqueline du Pré passed away on October 19th, 1987, aged only 42, after many years of fighting multiple sclerosis. This is a limited edition with a beautiful artwork at a bargain price. Four of the five LPs are designed from the original LP covers, except the Strauss which has never been released on LP before. These four albums are the 24-BIT/96kHz remastered versions made at Abbey Road in 2011 for Japanese SACD versions.

AntonĂ­n Leopold Dvorak; September 8, 1841 â€“ May 1, 1904, was a Czech composer of late Romantic music, who employed the idioms of the folk music of Moravia and his native Bohemia. Dvorakâ€™s own style is sometimes called "romantic-classicist synthesis". His works include symphonic, choral and chamber music, concerti, operas and many of other

AntonĂ­n Leopold Dvorak; September 8, 1841 â€“ May 1, 1904, was a Czech composer of late Romantic music, who employed the idioms of the folk music of Moravia and his native Bohemia. Dvorakâ€™s own style is sometimes called "romantic-classicist synthesis". His works include symphonic, choral and chamber music, concerti, operas and many of other orchestral and vocal-instrumental pieces. His best-known works include his New World Symphony, the Slavonic Dances, "American" String Quartet, the opera Rusalka, Cello Concerto in B minor and choral works Stabat Mater, Requiem and Te Deum.

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